Poppy Harvey-Jones
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Lot 19
Andrea Piccinelli, called del Brescianino(Siena circa 1485-circa 1545)The Madonna and Child with the Infant Saint John the Baptist and Saints Jerome and Catherine of Siena unframed
4 December 2019, 15:00 GMT
London, New Bond Street£50,000 - £70,000
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Andrea Piccinelli, called del Brescianino (Siena circa 1485-circa 1545)
The Madonna and Child with the Infant Saint John the Baptist and Saints Jerome and Catherine of Siena
oil on panel
63.2 x 44.6cm (24 7/8 x 17 9/16in).
unframed
oil on panel
63.2 x 44.6cm (24 7/8 x 17 9/16in).
unframed
Footnotes
Provenance
Art Market, Foligno, Italy, where purchased by the present owner's father in 1960s
Literature
B. Berenson, Italian pictures of the Renaissance, London, 1968, vol. I, p. 67, vol. III, pl. 1566
Active for most of his career in Siena, Andrea Piccinelli, known as Andrea del Brescianino, also spent much time in Florence where he saw the work of Fra Bartolomeo and Raphael. Andrea del Sarto also later proved of lasting stylistic influence even after Brescianino's return to Siena. Despite the discernible Florentine character of his work, Brescianino's continued use of vivid colouring remained firmly rooted in the Sienese tradition of Domenico Beccafumi.
It is known that Andrea collaborated with his younger brother, Raffaello, on the Baptism of Christ for the baptistry of the cathedral of Siena, amongst other altarpieces, and the latter is recorded as maintaining a studio in Florence as Vasari mentions that Francesco Salviati worked in his workshop. This strong connection with Florence has led to the suggestion that the brothers maintained two studios, one in Florence and one in Siena whilst keeping up a very close working relationship.
The compact composition and angular treatment of the drapery in the present painting place it very close, stylistically, to the Madonna and Child with Saints now in the National Gallery, London (NG4028) and also the Virgin and Child, with the Young Saint John the Baptist and Saints Sebastian and Catherine of Siena in the Philadelphia Museum of Art, Philadelphia (acc.no. 114, see fig. 1). The painting in the National Gallery is attributed to both of the brothers as it is not clear how the work was divided between the two painters making it difficult to clearly separate their work.
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